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the spring at Delphi, at the base of Mt. Parnassos, which was then named after her. Water from this spring was sacred; it was used to clean the Delphian temples and inspire the priestesses.
Cassandra, was a daughter of Hecuba and Priam. Apollo wished to court her. Cassandra promised to return his love on one condition - he should give her the power to see the future. Apollo fulfilled her wish, but she went back on her word and rejected him soon after. Angered that she broke her promise, Apollo cursed her that even though she would see the future, no one would ever believe her prophecies.
Hestia, the goddess of the hearth, rejected both Apollo's and Poseidon's marriage proposals and swore that
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she would always stay unmarried.
## Female counterparts.
### Artemis.
Artemis as the sister of Apollo, is "thea apollousa", that is, she as a female divinity represented the same idea that Apollo did as a male divinity. In the pre-Hellenic period, their relationship was described as the one between husband and wife, and there seems to have been a tradition which actually described Artemis as the wife of Apollo. However, this relationship was never sexual but spiritual, which is why they both are seen being unmarried in the Hellenic period.
Artemis, like her brother, is armed with a bow and arrows. She is the cause of sudden deaths of women. She also is the protector of the young, especially
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girls. Though she has nothing to do with oracles, music or poetry, she sometimes led the female chorus on Olympus while Apollo sang. The laurel was sacred to both. "Artemis Daphnaia" had her temple among the Lacedemonians, at a place called Hypsoi. In later times when Apollo was regarded as identical with the sun or Helios, Artemis was naturally regarded as Selene or the moon.
The Laurel was sacred to both. "Apollo Daphnephoros" had a temple in Eretria, a "place where the citizens are to take the oaths.
### Hecate.
Hecate, the goddess of witchcraft and magic, is the chthonic counterpart of Apollo. They both are cousins, since their mothers - Leto and Asteria - are sisters. One of Apollo's
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epithets, "Hecatos", is the masculine form of Hecate, and both the names mean "working from afar". While Apollo presided over the prophetic powers and magic of light and heaven, Hecate presided over the prophetic powers and magic of night and chthonian darkness. If Hecate is the "gate-keeper", Apollo "Agyieus" is the "door-keeper". Hecate is the goddess of crossroads and Apollo is the god and protector of streets.
The oldest evidence found for Hecate's worship is at Apollo's temple in Miletos. There, Hecate was taken to be Apollo's sister counterpart in the absence of Artemis. Hecate's lunar nature makes her the goddess of the waning moon and contrats and complements, at the same time, Apollo's
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solar nature.
### Athena.
As a deity of knowledge and great power, Apollo was seen being the male counterpart of Athena. Being Zeus' favorite children, they were given more powers and duties. Apollo and Athena often took up the role as protectors of cities, and were patrons of some of the important cities. Athena was the principle goddess of Athens, Apollo was the principle god of Sparta.
As patrons of arts, Apollo and Athena were companions of the Muses, the former a much more frequent companion than the latter. Apollo was sometimes called the son of Athena and Hephaestus due to his wise and artistic nature.
In the Trojan war, as Zeus' executive, Apollo is seen holding the aegis like Athena
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usually does. Apollo's decisions were usually approved by his sister Athena, and they both worked to establish the law and order set forth by Zeus.
## Apollo in the "Oresteia".
In Aeschylus' "Oresteia" trilogy, Clytemnestra kills her husband, King Agamemnon because he had sacrificed their daughter Iphigenia to proceed forward with the Trojan war. Apollo gives an order through the Oracle at Delphi that Agamemnon's son, Orestes, is to kill Clytemnestra and Aegisthus, her lover. Orestes and Pylades carry out the revenge, and consequently Orestes is pursued by the Erinyes or Furies (female personifications of vengeance).
Apollo and the Furies argue about whether the matricide was justified; Apollo
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holds that the bond of marriage is sacred and Orestes was avenging his father, whereas the Erinyes say that the bond of blood between mother and son is more meaningful than the bond of marriage. They invade his temple, and he drives them away. He says that the matter should be brought before Athena. Apollo promises to protect Orestes, as Orestes has become Apollo's supplicant. Apollo advocates Orestes at the trial, and ultimately Athena rules in favor of Apollo.
## Roman Apollo.
The Roman worship of Apollo was adopted from the Greeks. As a quintessentially Greek god, Apollo had no direct Roman equivalent, although later Roman poets often referred to him as Phoebus. There was a tradition that
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the Delphic oracle was consulted as early as the period of the kings of Rome during the reign of Tarquinius Superbus.
On the occasion of a pestilence in the 430s BCE, Apollo's first temple at Rome was established in the Flaminian fields, replacing an older cult site there known as the "Apollinare". During the Second Punic War in 212 BCE, the "Ludi Apollinares" ("Apollonian Games") were instituted in his honor, on the instructions of a prophecy attributed to one Marcius. In the time of Augustus, who considered himself under the special protection of Apollo and was even said to be his son, his worship developed and he became one of the chief gods of Rome.
After the battle of Actium, which was
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fought near a sanctuary of Apollo, Augustus enlarged Apollo's temple, dedicated a portion of the spoils to him, and instituted quinquennial games in his honour. He also erected a new temple to the god on the Palatine hill. Sacrifices and prayers on the Palatine to Apollo and Diana formed the culmination of the Secular Games, held in 17 BCE to celebrate the dawn of a new era.
# Festivals.
The chief Apollonian festival was the Pythian Games held every four years at Delphi and was one of the four great Panhellenic Games. Also of major importance was the Delia held every four years on Delos.
Athenian annual festivals included the Boedromia, Metageitnia, Pyanepsia, and Thargelia.
Spartan annual
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festivals were the Carneia and the Hyacinthia.
Thebes every nine years held the Daphnephoria.
# Attributes and symbols.
Apollo's most common attributes were the bow and arrow. Other attributes of his included the kithara (an advanced version of the common lyre), the plectrum and the sword. Another common emblem was the sacrificial tripod, representing his prophetic powers. The Pythian Games were held in Apollo's honor every four years at Delphi. The bay laurel plant was used in expiatory sacrifices and in making the crown of victory at these games.
The palm tree was also sacred to Apollo because he had been born under one in Delos. Animals sacred to Apollo included wolves, dolphins, roe
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deer, swans, cicadas (symbolizing music and song), hawks, ravens, crows, snakes (referencing Apollo's function as the god of prophecy), mice and griffins, mythical eagle–lion hybrids of Eastern origin.
As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, 750–550 BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy. However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called "Appaliunas" or "Apalunas" in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being
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identical with the Greek Ilion by most scholars. In this interpretation, Apollo's title of "Lykegenes" can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves (possibly a folk etymology).
In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast
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appears to be shown on the two sides of the Borghese Vase.
Apollo is often associated with the Golden Mean. This is the Greek ideal of moderation and a virtue that opposes gluttony.
# Apollo in the arts.
Apollo is a common theme in Greek and Roman art and also in the art of the Renaissance. The earliest Greek word for a statue is "delight" (, "agalma"), and the sculptors tried to create forms which would inspire such guiding vision. Greek art puts into Apollo the highest degree of power and beauty that can be imagined. The sculptors derived this from observations on human beings, but they also embodied in concrete form, issues beyond the reach of ordinary thought.
The naked bodies of the
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statues are associated with the cult of the body that was essentially a religious activity. The muscular frames and limbs combined with slim waists indicate the Greek desire for health, and the physical capacity which was necessary in the hard Greek environment. The statues of Apollo embody beauty, balance and inspire awe before the beauty of the world.
The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period, to the representation of motion in a relative harmonious whole in late archaic period. In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but
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to the analogies and the interaction of the members in the whole, a method created by Polykleitos. Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.
## Art and Greek philosophy.
The evolution of the Greek art seems to go parallel with the Greek philosophical conceptions, which changed from the natural-philosophy of Thales to the metaphysical theory of Pythagoras. Thales searched for a simple material-form directly perceptible by the senses, behind the appearances of things, and his theory is also related to the older animism. This was paralleled in sculpture by the absolute representation of vigorous
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life, through unnaturally simplified forms.
Pythagoras believed that behind the appearance of things, there was the permanent principle of mathematics, and that the forms were based on a transcendental mathematical relation. The forms on earth, are imperfect imitations (, "eikones", "images") of the celestial world of numbers. His ideas had a great influence on post-Archaic art. The Greek architects and sculptors were always trying to find the mathematical relation, that would lead to the esthetic perfection. (canon).
In classical Greece, Anaxagoras asserted that a divine reason (mind) gave order to the seeds of the universe, and Plato extended the Greek belief of "ideal forms" to his metaphysical
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theory of "forms" ("ideai", "ideas"). The forms on earth are imperfect duplicates of the intellectual celestial ideas. The Greek words "oida" (, "(I) know") and "eidos" (, "species"), a thing seen, have the same root as the word "idea" (), a thing ἰδείν to see. indicating how the Greek mind moved from the gift of the senses, to the principles beyond the senses. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization. The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual.
## Archaic sculpture.
Kouros ("male youth") is the modern term given to those representations
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of standing male youths which first appear in the archaic period in Greece. This type served certain religious needs and was first proposed for what was previously thought to be depictions of "Apollo". The first statues are certainly still and formal. The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason. The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness. When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods. The adoption of a standard
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recognizable type for a long time, is probably because nature gives preference in survival of a type which has long be adopted by the climatic conditions, and also due to the general Greek belief that nature expresses itself in "ideal forms" that can be imagined and represented. These forms expressed immortality. Apollo was the immortal god of "ideal balance and order". His shrine in Delphi, that he shared in winter with Dionysius had the inscriptions: (gnōthi seautón="know thyself") and ("mēdén ágan", "nothing in excess"), and (eggýa pára d'atē, "make a pledge and mischief is nigh").
In the first large-scale depictions during the early archaic period (640–580 BC), the artists tried to draw
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one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life. The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself. A fine example is the statue of the "Sacred Gate Kouros" which was found at the cemetery of Dipylon in Athens (Dipylon Kouros). The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus, and in his statues the limbs were freed from the
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body, giving the impression that the statues could move. It is considered that he created also the "New York kouros", which is the oldest fully preserved statue of "Kouros" type, and seems to be the incarnation of the god himself.
The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus (Phaistos) and the mythic Daedalus (the builder of the labyrinth) that made images which moved of their own accord. This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment. These free-standing statues were usually marble, but also the form rendered
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in limestone, bronze, ivory and terracotta.
The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos. Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of "Apollo Ptoios", Boeotia alone. The last stage in the development of the "Kouros type" is the late archaic period (520–485 BC), in which the Greek sculpture attained a full knowledge of human anatomy and used to create a relative harmonious whole. Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus,
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the harbour of Athens. The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand. It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art. The statue throws some light on an artistic centre which, with an independently developed harder, simpler and heavier style, restricts Ionian influence in Athens. Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later.
## Classical sculpture.
At the beginning of the Classical period, it was considered
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that beauty in visible things as in everything else, consisted of symmetry and proportions. The artists tried also to represent motion in a specific moment (Myron), which may be considered as the reappearance of the dormant Minoan element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his "Canon" wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras.
The
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famous "Apollo of Mantua" and its variants are early forms of the Apollo Citharoedus statue type, in which the god holds the cithara in his left arm. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic. The Apollo held the "cythara" against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.
Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion
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alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age. Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art. Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions
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were the same. Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self. Things as we see them, and as they really are, are one, that each stresses the nature of the other in a single unity.
## Pediments and friezes.
In the archaic pediments and friezes of the temples, the artists had a problem to fit a group of figures into an isosceles triangle with acute angles at the base.
The Siphnian Treasury in Delphi was one of the first Greek buildings utilizing the solution to put the dominating form in the middle, and to complete the descending
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scale of height with other figures sitting or kneeling. The pediment shows the story of Heracles stealing Apollo's tripod that was strongly associated with his oracular inspiration. Their two figures hold the centre. In the pediment of the temple of Zeus in Olympia, the single figure of Apollo is dominating the scene.
These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole. While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest
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a passage to and from a busy battlefield. The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.
## Hellenistic Greece-Rome.
Apollo as a handsome beardless young man, is often depicted with a kithara (as Apollo Citharoedus) or bow in his hand, or reclining on a tree (the Apollo Lykeios and Apollo Sauroctonos types). The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century. The marble is a Hellenistic or Roman copy of a bronze original by
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the Greek sculptor Leochares, made between 350 and 325 BCE.
The life-size so-called "Adonis" found in 1780 on the site of a "villa suburbana" near the Via Labicana in the Roman suburb of Centocelle is identified as an Apollo by modern scholars. In the late 2nd century CE floor mosaic from El Djem, Roman "Thysdrus", he is identifiable as Apollo Helios by his effulgent halo, though now even a god's divine nakedness is concealed by his cloak, a mark of increasing conventions of modesty in the later Empire.
Another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse. The conventions of this representation, head tilted, lips slightly parted, large-eyed, curling hair cut in locks
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grazing the neck, were developed in the 3rd century BCE to depict Alexander the Great. Some time after this mosaic was executed, the earliest depictions of Christ would also be beardless and haloed.
# Modern reception.
Apollo has often featured in postclassical art and literature. Percy Bysshe Shelley composed a "Hymn of Apollo" (1820), and the god's instruction of the Muses formed the subject of Igor Stravinsky's "Apollon musagète" (1927–1928). In 1978, the Canadian band Rush released an album with songs "Apollo: Bringer of Wisdom"/"Dionysus: Bringer of Love".
In discussion of the arts, a distinction is sometimes made between the Apollonian and Dionysian impulses where the former is concerned
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with imposing intellectual order and the latter with chaotic creativity. Friedrich Nietzsche argued that a fusion of the two was most desirable. Carl Jung's Apollo archetype represents what he saw as the disposition in people to over-intellectualise and maintain emotional distance.
Charles Handy, in "Gods of Management" (1978) uses Greek gods as a metaphor to portray various types of organisational culture. Apollo represents a 'role' culture where order, reason, and bureaucracy prevail.
In spaceflight, the NASA program for landing astronauts on the Moon was named Apollo.
# See also.
- Dryad
- Epirus
- Pasiphaë
- Phoebus (disambiguation)
- Sibylline oracles
- Tegyra
- Temple of Apollo
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(disambiguation)
# References.
## Primary sources.
- Hesiod, "Theogony", in "The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White", Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library.
- Homer, "The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes". Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924. Online version at the Perseus Digital Library.
- Homer; "The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes". Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1919. Online version at the Perseus
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Digital Library.
- Sophocles, "Oedipus Rex"
- Palaephatus, "On Unbelievable Tales" 46. Hyacinthus (330 BCE)
- Apollodorus, "Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes." Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Online version at the Perseus Digital Library.
- Ovid, "Metamorphoses" 10. 162–219 (1–8 CE)
- Pausanias, "Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes." Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. Online version at the Perseus Digital Library.
- Philostratus the Elder,
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"Images" i.24 Hyacinthus (170–245 CE)
- Philostratus the Younger, "Images" 14. Hyacinthus (170–245 CE)
- Lucian, "Dialogues of the Gods" 14 (170 CE)
- First Vatican Mythographer, 197. Thamyris et Musae
## Secondary sources.
- M. Bieber, 1964. "Alexander the Great in Greek and Roman Art". Chicago.
- Hugh Bowden, 2005. "Classical Athens and the Delphic Oracle: Divination and Democracy". Cambridge University Press.
- Walter Burkert, 1985. "Greek Religion" (Harvard University Press) III.2.5 "passim"
- Gantz, Timothy, "Early Greek Myth: A Guide to Literary and Artistic Sources", Johns Hopkins University Press, 1996, Two volumes: (Vol. 1), (Vol. 2).
- Robert Graves, 1960. "The Greek Myths",
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revised edition. Penguin.
- Miranda J. Green, 1997. "Dictionary of Celtic Myth and Legend", Thames and Hudson.
- Karl Kerenyi, 1953. "Apollon: Studien über Antiken Religion und Humanität" revised edition.
- Karl Kerenyi, 1951. "The Gods of the Greeks"
- Mertens, Dieter; Schutzenberger, Margareta. "Città e monumenti dei Greci d'Occidente: dalla colonizzazione alla crisi di fine V secolo a.C.". Roma L'Erma di Bretschneider, 2006. .
- Martin Nilsson, 1955. "Die Geschichte der Griechische Religion", vol. I. C.H. Beck.
- Pauly–Wissowa, "Realencyclopädie der klassischen Altertumswissenschaft": II, "Apollon". The best repertory of cult sites (Burkert).
- Pfeiff, K.A., 1943. "Apollon: Wandlung
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riechische Religion", vol. I. C.H. Beck.
- Pauly–Wissowa, "Realencyclopädie der klassischen Altertumswissenschaft": II, "Apollon". The best repertory of cult sites (Burkert).
- Pfeiff, K.A., 1943. "Apollon: Wandlung seines Bildes in der griechischen Kunst". Traces the changing iconography of Apollo.
- D.S.Robertson (1945) "A handbook of Greek and Roman Architecture" Cambridge University Press
- Smith, William; "Dictionary of Greek and Roman Biography and Mythology", London (1873). "Apollo"
- Spivey Nigel (1997) "Greek art" Phaedon Press Ltd.
# External links.
- Apollo at the Greek Mythology Link, by Carlos Parada
- The Warburg Institute Iconographic Database: ca 1650 images of Apollo
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Mixmaster Morris
Mixmaster Morris
Mixmaster Morris (born Morris Gould, 30 December 1965) is an English ambient DJ and underground musician. Famous for his, "It's time to lie down and be counted" quote, relating specifically to ambient music, Morris stated "It's exactly what you need if you have a busy and stressful life".
# Life and career.
Morris Gould was born in Brighton, Sussex, England, but grew up in Lincolnshire and was educated at Millfield in Somerset, and King's College London. At 15 he founded a punk rock band, The Ripchords, whose sole release, an eponymous EP with four tracks, was championed by the BBC Radio One DJ John Peel. After leaving university, he began working as a DJ in 1985 with his
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Mixmaster Morris
"Mongolian Hip Hop Show" on pirate radio station Network 21 in London – the handle Mixmaster Morris was suggested by the station director. After a year of managing a club called "The Gift" in New Cross, which had been founded by Keith Gallagher and named after a Velvet Underground song, Morris began releasing material as The Irresistible Force in 1987 in collaboration with singer-songwriter Des de Moor. He became involved with the emerging UK acid house scene, after organising Madhouse at The Fridge, Brixton in 1988 – which was the subject of a piece by Peel in "The Observer".
A show with the band Psychic TV led to him becoming full-time DJ with The Shamen, and touring with them on their 'Synergy'
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tours for nearly two years.
The first release as The Irresistible Force was the single, "I Want To" (1988), but success came with the first album, "Flying High", released in 1992 on Rising High Records. In 1994, Morris released the second album "Global Chillage" which featured a holographic sleeve, and was released in the US on Astralwerks. After a period of legal problems the third album "It's Tomorrow Already" came out on Ninja Tune.
In 1990, he made one of the first chillout compilations, "Give Peace a Dance 2: The Ambient Collection" for the Campaign for Nuclear Disarmament, followed by the series "Chillout or Die" for Rising High Records. A mix tape for "Mixmag" shared with Alex Patterson
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was also released as a CD. "The Morning After" became his first major-label mix album, followed by "Abstract Funk Theory" for Obsessive.
Through the 1990s he was a regular DJ in the chill out room at Return to the Source parties in London, around the UK and abroad. In 2003 he released the mix CD "God Bless the Chilled" for the Return to the Source Ambient Meditations series.
He has produced many remixes since 1985, including Coldcut's "Autumn Leaves". This remix was nominated by Norman Cook as his favourite chillout track on BBC Television. His mix for INXS was a Top 20 hit in the UK. Other early remixes were of Lloyd Cole, Dave Howard Singers, Bang Bang Machine, Stump, Higher Intelligence
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Agency, Sven Vath and Rising High Collective.
In the early 1990s his key residencies were alongside the Detroit masters at Lost, Megatripolis at London's Heaven, and also the Tribal Gathering parties. He became known for wearing holographic suits, produced by the company Spacetime, which he modelled for "Vogue" magazine. Throughout the decade, Morris wrote about electronic music for the "NME", "Mixmag", and "i-D". He was resident on Kiss FM for several years, and then a regular on Solid Steel, the Ninja Tune syndicated radio show. He made his film debut in "Modulations" (Caipirinha Films), and his music was used in a number of other films including "Groove" and "Hey Happy".
Morris has played
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Mixmaster Morris
in over fifty countries at nightclubs and parties, and particularly music festivals such as the Full Moon parties in the Mojave Desert, Glastonbury Festival, Rainbow 2000 and Mother SOS in Japan, Chillits in Northern California, and Berlin's Love Parade. He also ran the downtempo night Nubient in Brixton. In 1995, he played at the first The Big Chill festival, and then became a resident for the next 16 years.
He also collaborated with the German musician Pete Namlook under the name Dreamfish, recording two albums. Also with SF-based musician Jonah Sharp and Haruomi Hosono of Yellow Magic Orchestra he made the album "Quiet Logic" for the Japanese label Daisyworld.
In 1998 he joined the UK's
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Ninja Tune record label, with whom he toured as a DJ and made three releases. 1999 saw him win 'Best Chillout DJ' at the Ibiza DJ Awards at Pacha, Ibiza, and in 2001 he won the title for a second time, becoming the first DJ to achieve this. He has appeared in many lists of the worlds top DJ's including the Ministry of Sound book "The Annual" and 2003's "DJs by Lopez", and "URB Magazine"'s Top 100 DJ list. Morris records regular radio shows for the Japanese internet radio station Samurai FM. In 2006 he started a new club at the Big Chill House in Kings Cross, London, and did a guest mix for BBC Radio 1's "The Blue Room" show. His essay about jazz was published in the book, "Crossfade", and he
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made a one-off appearance reading it aloud.
In March 2007, together with Coldcut, he organised a tribute show to the writer and philosopher Robert Anton Wilson, which they performed at the Queen Elizabeth Hall. He also played in Goa for the first time with The Big Chill, and started a new residency at The Prince in Brixton. In May 2008 Morris undertook an ambient mix on BBC Radio 1, and put a The Irresistible Force band together to play at The Big Chill festival. In 2009, he compiled a podcast for Tate Britain to accompany their Altermodern exhibition, and opened a new AV night called MMMTV in Camden. The mix CD, "Calm Down My Selector" was released in January by Wakyo Records, and he made
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a tour of Japan to promote it.
In 2010, he won another Ibiza DJ Award, for the third time. In October that year, he was announced as Head of A+R for Apollo Records. 2011 saw him rejoin Bestival as part of their "Ambient Forest" team.
2017 saw Morris continue to stay at the top of the psybient/downtempo movement and charts, especially mixcloud where he held top positions in most categories relating to ambient music for the full year. 2017 also saw the triumphant return of Mixmaster Morris with his acclaimed release "Kira Kira", a lush soundscape that was received well by many publications and listeners and earned a spot in "Extreme Chill's" top twenty of 2017 along such luminaries as Brian
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7 along such luminaries as Brian Eno and Steve Roach.
# Discography.
- "Flying High" – Rising High Records (1992)
- "Global Chillage" – Rising High Records (1994)
- "It's Tomorrow Already" – Ninja Tune (1998)
- "Kira Kira" – Liquid Sound Design (2017)
# Appearances in media.
- The track "Power" from "It's Tomorrow Already" was used as bumper music during the 2009 Australian Open tennis tournament.
# See also.
- List of ambient music artists
# Bibliography.
- Toop, David. "Ocean of Sound". Serpents Tail, 1995
- Prendergast, Mark. "The Ambient Century". Bloomsbury Publishing, 2000
- Gill, John. "Queer Noises". Cassell, 1995
- Smith, Richard. "Seduced And Abandoned". Cassell, 1995
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Maus (disambiguation)
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Maus (disambiguation)
Maus (disambiguation)
Maus is a series of Pulitzer Prize-winning graphic novels by Art Spiegelman.
Maus may also refer to:
- "Maus", the German word for mouse
- Burg Maus, a castle in Rhineland-Palatinate, Germany
- "Die Sendung mit der Maus", a children's television show from Germany
- Maus (band), an Icelandic rock band
- MAUS mine (), an Italian designed anti-personnel scatter mine
- Panzer VIII Maus, a German World War II super-heavy tank
- DarkMaus, a video game
# See also.
- Mau (disambiguation)
- Maws (disambiguation)
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Maastricht
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Maastricht
Maastricht
Maastricht (, , ; Limburgish : ; ; ) is a city and a municipality in the southeast of the Netherlands. It is the capital and largest city of the province of Limburg. Maastricht is located on both sides of the Meuse (Dutch: "Maas"), at the point where the Jeker joins it. It is adjacent to the border with Belgium.
Maastricht developed from a Roman settlement to a medieval religious centre. In the 16th century it became a garrison town and in the 19th century an early industrial city. Today, the city is a thriving cultural and regional hub. It became well known through the Maastricht Treaty and as the birthplace of the euro. Maastricht has 1677 national heritage buildings ("Rijksmonumenten"),
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the second highest number in the Netherlands, after Amsterdam. The city is visited by tourists for shopping and recreation, and has a large international student population. Maastricht is a member of the Most Ancient European Towns Network and is part of the Meuse-Rhine Euroregion, which includes the nearby German and Belgian cities of Aachen, Eupen, Hasselt, Liège, and Tongeren. The Meuse-Rhine Euroregion is a metropolis with a population of about 3.9 million with several international universities.
# History.
## Toponymy.
Maastricht is mentioned in ancient documents as "[Ad] Treiectinsem [urbem]" ab. 575, "Treiectensis" in 634, "Triecto, Triectu" in 7th century, "Triiect" in 768-781, "Traiecto"
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in 945, "Masetrieth" in 1051.
The place name "Maastricht" is an Old Dutch compound "Masa-" ( "Maas" "the Meuse river") + Old Dutch "*treiekt", itself borrowed from Gallo-Romance cf. its Walloon name "li trek", from Classical Latin "trajectus" ("ford, passage, place to cross a river") with the later addition of "Maas" "Meuse" to avoid the confusion with the "-trecht" of Utrecht having exactly the same original form and etymology. The Latin name first appears in medieval documents and it is not known whether "*Trajectu(s)" was Maastricht's name during Roman times. A resident of Maastricht is referred to as "Maastrichtenaar" whilst in the local dialect it is either "Mestreechteneer" or, colloquially,
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"Sjeng" (derived from the formerly popular French name "Jean").
## Early history.
Neanderthal remains have been found to the west of Maastricht (Belvédère excavations). Of a later date are Palaeolithic remains, between 8,000 and 25,000 years old. Celts lived here around 500 BC, at a spot where the river Meuse was shallow and therefore easy to cross.
It is not known when the Romans arrived in Maastricht, or whether the settlement was founded by them. The Romans built a bridge across the Meuse in the 1st century AD, during the reign of Augustus Caesar. The bridge was an important link in the main road between Bavay and Cologne. Roman Maastricht was probably relatively small. Remains of the
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Roman road, the bridge, a religious shrine, a Roman bath, a granary, some houses and the 4th-century castrum walls and gates, have been excavated. Fragments of provincial Roman sculptures, as well as coins, jewellery, glass, pottery and other objects from Roman Maastricht are on display in the exhibition space of the city's public library ("Centre Céramique").
According to legend, the Armenian-born Saint Servatius, Bishop of Tongeren, died in Maastricht in 384 where he was interred along the Roman road, outside the castrum. According to Gregory of Tours bishop Monulph was to have built around 570 the first stone church on the grave of Servatius, the present-day Basilica of Saint Servatius.
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The city remained an early Christian diocese until it lost the distinction to nearby Liège in the 8th or 9th century.
## Middle Ages.
In the early Middle Ages Maastricht was part of the heartland of the Carolingian Empire along with Aachen and the area around Liège. The town was an important centre for trade and manufacturing. Merovingian coins minted in Maastricht have been found in places throughout Europe. In 881 the town was plundered by the Vikings. In the 10th century it briefly became the capital of the duchy of Lower Lorraine.
During the 12th century the town flourished culturally. The provosts of the church of Saint Servatius held important positions in the Holy Roman Empire during
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this era. The two collegiate churches were largely rebuilt and redecorated. Maastricht Romanesque stone sculpture and silversmithing are regarded as highlights of Mosan art. Maastricht painters were praised by Wolfram von Eschenbach in his Parzival. Around the same time, the poet Henric van Veldeke wrote a legend of Saint Servatius, one of the earliest works in Dutch literature. The two main churches acquired a wealth of relics and the septennial Maastricht Pilgrimage became a major event.
Unlike most Dutch towns, Maastricht did not receive city rights at a certain date. These developed gradually during its long history. In 1204 the city's dual authority was formalised in a treaty, with the
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prince-bishops of Liège and the dukes of Brabant holding joint sovereignty over the city. Soon afterwards the first ring of medieval walls were built. In 1275, the old Roman bridge collapsed under the weight of a procession, killing 400 people. A replacement, funded by church indulgences, was built slightly to the north and survives until today, the Sint Servaasbrug.
Throughout the Middle Ages, the city remained a centre for trade and manufacturing principally of wool and leather but gradually economic decline set in. After a brief period of economic prosperity around 1500, the city's economy suffered during the wars of religion of the 16th and 17th centuries, and recovery did not happen until
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the industrial revolution in the early 19th century.
## 16th to 18th centuries.
The important strategic location of Maastricht resulted in the construction of an impressive array of fortifications around the city during this period. The Spanish and Dutch garrisons became an important factor in the city's economy. In 1579 the city was sacked by the Spanish army led by the Duke of Parma (Siege of Maastricht, 1579). For over fifty years the Spanish crown took over the role previously held by the dukes of Brabant in the joint sovereignty over Maastricht. In 1632 the city was conquered by Prince Frederick Henry of Orange and the Dutch States General replaced the Spanish crown in the joint government
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of Maastricht.
Another Siege of Maastricht (1673) took place during the Franco-Dutch War. In June 1673, Louis XIV laid siege to the city because French battle supply lines were being threatened. During this siege, Vauban, the famous French military engineer, developed a new strategy in order to break down the strong fortifications surrounding Maastricht. His systematic approach remained the standard method of attacking fortresses until the 20th century. On 25 June 1673, while preparing to storm the city, captain-lieutenant Charles de Batz de Castelmore, also known as the "comte d'Artagnan", was killed by a musket shot outside Tongerse Poort. This event was embellished in Alexandre Dumas' novel
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"The Vicomte de Bragelonne", part of the D'Artagnan Romances. French troops occupied Maastricht from 1673 to 1678.
In 1748 the French again conquered the city at what is known as the Second French Siege of Maastricht, during the War of Austrian Succession. The French took the city for the last time in 1794, when the condominium was dissolved and Maastricht was annexed to the First French Empire (1794–1814). For twenty years Maastricht remained the capital of the French département of Meuse-Inférieure.
## 19th and early 20th century.
After the Napoleonic era, Maastricht became part of the United Kingdom of the Netherlands in 1815. It was made the capital of the newly formed Province of Limburg
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(1815–1839). When the southern provinces of the newly formed kingdom seceded in 1830, the Dutch garrison in Maastricht remained loyal to the Dutch king, William I, even when most of the inhabitants of the town and the surrounding area sided with the Belgian revolutionaries. In 1831, arbitration by the Great Powers allocated the city to the Netherlands. However, neither the Dutch nor the Belgians agreed to this and the arrangement was not implemented until the 1839 Treaty of London. During this period of isolation Maastricht developed into an early industrial town.
Because of its eccentric location in the southeastern Netherlands, and its geographical and cultural proximity to Belgium and Germany,
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integration of Maastricht and Limburg into the Netherlands did not come about easily. Maastricht retained a distinctly non-Dutch appearance during much of the 19th century and it was not until the First World War that the city was forced to look northwards.
Like the rest of the Netherlands, Maastricht remained neutral during World War I. However, being wedged between Germany and Belgium, it received large numbers of refugees, putting a strain on the city's resources. Early in World War II, the city was taken by the Germans by surprise during the Battle of Maastricht of May 1940. On 13 and 14 September 1944 it was the first Dutch city to be liberated by Allied forces of the US Old Hickory Division.
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The three Meuse bridges were destroyed or severely damaged during the war. As elsewhere in the Netherlands, the majority of Maastricht Jews died in Nazi concentration camps.
## After World War II.
During the latter half of the century, traditional industries (such as Maastricht's potteries) declined and the city's economy shifted to a service economy. Maastricht University was founded in 1976. Several European institutions found their base in Maastricht. In 1981 and 1991 European Councils were held in Maastricht, the latter one resulting a year later in the signing of the Maastricht Treaty, leading to the creation of the European Union and the euro. Since 1988, The European Fine Art Fair,
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regarded as the world's leading art fair, annually draws in some of the wealthiest art collectors.
In recent years, Maastricht launched several campaigns against drug-dealing in an attempt to stop foreign buyers taking advantage of the liberal Dutch legislation and causing trouble in the downtown area.
Since the 1990s, large parts of the city have been refurbished, including the areas around the main railway station and the Maasboulevard promenade along the Meuse, the Entre Deux and Mosae Forum shopping centres, as well as some of the main shopping streets. A prestigious quarter designed by international architects and including the new Bonnefanten Museum, a public library, and a theatre was
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built on the grounds of the former Société Céramique factory near the town centre. As a result, Maastricht looks notably smarter. Further large-scale projects, such as the redevelopment of the area around the A2 motorway, the Sphinx Quarter and the Belvédère area, are under construction.
# Geography.
## Neighbourhoods.
Maastricht consists of five districts ("stadsdelen") and 44 neighbourhoods ("wijken"). Each neighbourhood has a number which corresponds to its postal code.
- 1. Maastricht Centrum (Binnenstad, Jekerkwartier, Kommelkwartier, Statenkwartier, Boschstraatkwartier, Sint Maartenspoort, Wyck-Céramique)
- 2. South-West (Villapark, Jekerdal, Biesland, Campagne, Wolder, Sint Pieter)
-
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3. North-West (Brusselsepoort, Mariaberg, Belfort, Pottenberg, Malpertuis, Caberg, Malberg, Dousberg-Hazendans, Daalhof, Boschpoort, Bosscherveld, Frontenkwartier, Belvédère, Lanakerveld)
- 4. North-East (Beatrixhaven, Borgharen, Itteren, Meerssenhoven, Wyckerpoort, Wittevrouwenveld, Nazareth, Limmel, Amby)
- 5. South-East (Randwyck, Heugem, Heugemerveld, Scharn, Heer, De Heeg, Vroendaal)
The neighbourhoods of Itteren, Borgharen, Limmel, Amby, Heer, Heugem, Scharn, Oud-Caberg, Sint Pieter and Wolder all used to be separate municipalities or villages until they were annexed by the city of Maastricht in the course of the 20th century.
## Neighbouring villages.
The outlying areas of the following
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villages are bordering the municipality of Maastricht directly.
"Clockwise from north-east to north-west:"
- Bunde,
- Meerssen,
- Berg en Terblijt,
- Bemelen,
- Cadier en Keer,
- Gronsveld,
- Oost,
- Lanaye (B),
- Petit-Lanaye (B),
- Kanne (B),
- Vroenhoven (B),
- Kesselt (B),
- Veldwezelt (B),
- Lanaken (B),
- Neerharen (B).
"(B = Situated in Belgium)"
## Border.
Maastricht's city limits has an international border with Belgium. Most of it borders Belgium's Flemish region, but a small part to the south also has a border with the Walloon region. Both countries are part of Europe's Schengen Area thus are open without border controls.
## Climate.
Maastricht features the same
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climate as most of the Netherlands ("Cfb", Oceanic climate), however, due to its more inland location in between hills, summers tend to be warmer (especially in the Meuse valley, which lies 70 metres lower than the meteorological station) and winters a bit colder, although the difference is only remarkable at a few days a year. The highest temperature recorded was on 25 July 2019 at .
# Demographics.
## Languages.
Maastricht is a city of linguistic diversity, partly as a result of its location at the crossroads of multiple language areas and its international student population.
- Dutch is the national language and the language of elementary and secondary education (excluding international
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institutions) as well as administration. Dutch in Maastricht is often spoken with a distinctive Limburgish accent, which should not be confused with the Limburgish language.
- Limburgish (or "Limburgian") is the overlapping term of the tonal dialects spoken in the Dutch and Belgian provinces of Limburg. The Maastrichtian dialect ("Mestreechs") is only one of many variants of Limburgish. It is characterised by stretched vowels and some French influence on its vocabulary. In recent years the Maastricht dialect has been in decline (see dialect levelling) and a language switch to Standard Dutch has been noted.
- French used to be the language of education in Maastricht. In the 18th century the
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language occupied a powerful position as judicial and cultural language, and it was used throughout the following century by the upper classes. Between 1851 and 1892 a Francophone newspaper ("Le Courrier de la Meuse") was published in Maastricht. The language is often part of secondary school curricula. Many proper names and some street names are French and the language has left many traces in the local dialect.
- German, like French, is often part of secondary school curricula. Due to Maastricht's geographic proximity to Germany and the great number of German students in the city, German is widely spoken.
- English has become an important language in education. At Maastricht University and
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Hogeschool Zuyd it is the language of instruction for many courses. Many foreign students and expatriates use English as a lingua franca. English is also a mandatory subject in Dutch elementary and secondary schools.
## Religion.
The largest religion in Maastricht is Christianity with 65.1% of the population that is Christian, of whom 92.31% is Catholic.
# Economy.
## Private companies based in Maastricht.
- Sappi – South African Pulp and Paper Industry
- Royal Mosa – ceramic tiles
- O-I Manufacturing;– previously Kristalunie Maastricht; glass
- ENCI – cement factory
- BASF – previously Ten Horn; pigments
- Rubber Resources;– previously Radium Foam and Vredestein; rubber recycling
-
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Hewlett-Packard – previously Indigo, manufacturer of electronic data systems
- Vodafone – mobile phone company
- Q-Park – international operator of parking garages
- DHL – international express mail services
- Teleperformance – contact center services
- Mercedes-Benz – customer contact centre for Europe
- VGZ – health insurance, customer contact centre
- Pie Medical Imaging – cardiovascular quantitative analysis software
- Esaote (former Pie Medical Equipment) – manufacturer of medical and veterinary diagnostic equipment
- CardioTek – manufacturer of medical equipment for Cardiac electrophysiology procedures
- BioPartner Centre Maastricht – life sciences spin-off companies
## Public
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institutions.
Since the 1980s a number of European and international institutions have made Maastricht their base. They provide an increasing number of employment opportunities for expats living in the Maastricht area.
- Administration of the Dutch province of Limburg
- Meuse-Rhine Euroregion
- "Limburg Development Company LIOF"
- Rijksarchief Limburg – archives of the province of Limburg
- Eurocontrol – The European Organisation for the Safety of Air Navigation
- European Journalism Centre
- European Institute of Public Administration (EIPA)
- European Centre for Development Policy Management (ECDPM)
- "European centre for work and society (ECWS)"
- "Maastricht Centre for Transatlantic
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Studies (MCTS)"
- "Expert Centre for Sustainable Business and Development Cooperation (ECSAD)"
- "Council of European Municipalities and Regions (REGR)"
- "European Centre for Digital Communication (EC/DC)"
- UNU-MERIT
- "Maastricht Research School of Economics of TEchnology and ORganization (METEOR)"
- "Research Institute for Knowledge Systems (RIKS)"
- "Cicero Foundation (CF)"
# Culture and tourism.
## Sights of Maastricht.
Maastricht is known in the Netherlands and beyond for its lively squares, narrow streets, and historic buildings. The city has 1,677 national heritage buildings ("rijksmonumenten"), more than any Dutch city outside Amsterdam. In addition to that there are 3,500
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locally listed buildings ("gemeentelijke monumenten"). The entire city centre is a conservation area ("beschermd stadsgezicht"). The tourist information office (VVV) is located in the Dinghuis, a medieval courthouse overlooking Grote Staat.
Maastricht's main sights include:
- Meuse river, with several parks and promenades along the river, and some interesting bridges:
- Sint Servaasbrug, partly from the 13th century; the oldest bridge in the Netherlands;
- Hoge Brug ("High Bridge"), a modern pedestrian bridge designed by René Greisch;
- City fortifications, including:
- Remnants of the first and second medieval city wall and several towers (13th and 14th centuries);
- Helpoort ("Hell's
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Gate"), an imposing gate with two towers, built shortly after 1230, the oldest city gate in the Netherlands;
- Waterpoortje ("Little Water Gate"), a medieval gate in Wyck, used for accessing the city from the Meuse, demolished in the 19th century but rebuilt shortly afterwards;
- Hoge Fronten (or: Linie van Du Moulin), remnants of 17th- and 18th-century fortifications with a number of well-preserved bastions and a nearby early 19th-century fortress, Fort Willem I;
- Fort Sint-Pieter ("Fortress Saint Peter"), early 18th-century fortress on the flanks of Mount Saint Peter;
- Casemates, an underground network of tunnels, built as sheltered emplacements for guns and cannons. These tunnels run
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for several kilometres underneath the city's fortifications, some isolated, others connected to each other. Guided tours are available.
- Binnenstad: inner-city district with pedestrianized shopping streets including Grote and Kleine Staat, and high-end shopping streets Stokstraat and Maastrichter Smedenstraat. The main sights in Maastricht as well as a large number of cafés, pubs and restaurants are centred around the three main squares in Binnenstad:
- Vrijthof, the largest and best-known square in Maastricht, with many well-known pubs and restaurants (including two - one former - gentlemen's clubs). Other sights include:
- Basilica of Saint Servatius, a predominantly Romanesque church
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with important medieval sculptures (most notably the westwork and east choir sculpted capitals, corbels and reliefs, and the sculpted South Portal or Bergportaal). The tomb of Saint Servatius in the crypt is a favoured place of pilgrimage. The church has an important church treasury;
- Sint-Janskerk, a Gothic church dedicated to Saint John the Baptist, the city's main Protestant church since 1632, adjacent to the Basilica of Saint Servatius, with a distinctive red, limestone tower;
- Spaans Gouvernement ("Spanish Government Building"), a 16th-century former canon's house, also used by the Brabant and Habsburg rulers, now housing the Museum aan het Vrijthof;
- Hoofdwacht ("Main Watch"), a
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17th-century military guard house, used for exhibitions;
- Generaalshuis ("General's House"), a Neoclassical mansion, now the city's main theater (Theater aan het Vrijthof).
- Onze Lieve Vrouweplein, a tree-lined square with a number of pavement cafes. Main sights:
- Basilica of Our Lady, an 11th-century church, one of the Netherlands' most significant Romanesque buildings with an important church treasury. Perhaps best known for the shrine of Our Lady, Star of the Sea in an adjacent Gothic chapel;
- Derlon Museumkelder, a small museum with Roman and earlier remains in the basement of Hotel Derlon.
- Markt, the town's market square, completely refurbished in 2006-07 and now virtually traffic
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free. Sights include:
- The Town Hall, built in the 17th century by Pieter Post and considered one of the highlights of Dutch Baroque architecture. Nearby is Dinghuis, the medieval town hall and courthouse with an early Renaissance façade;
- Mosae Forum, a new shopping centre and civic building designed by Jo Coenen and Bruno Albert. Inside the Mosae Forum parking garage is a small exhibition of Citroën miniature cars;
- Entre Deux, a rebuilt shopping centre in Postmodern style, which has won several international awards. It includes a bookstore located inside a former 13th-century Dominican church. In 2008, British newspaper "The Guardian" proclaimed this the world's most beautiful bookshop.
-
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Jekerkwartier, a neighbourhood named after the small river Jeker, which pops up between old houses and remnants of city walls. The western part of the neighbourhood (also called the Latin Quarter of Maastricht), is dominated by university buildings and art schools. Sights include:
- a number of churches and monasteries, some from the Gothic period (the Old Franciscan Church), some from the Renaissance (Faliezustersklooster), some from the Baroque period (Bonnefanten Monastery; Walloon Church, Lutheran Church);
- Maastricht Natural History Museum, a small museum of natural history in a former monastery;
- Grote Looiersstraat ("Great Tanners' Street"), a former canal that was filled in during
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the 19th century, lined with elegant houses, the city's poorhouse (now part of the university library) and Sint-Maartenshofje, a typically Dutch hofje.
- Kommelkwartier and Statenkwartier, two relatively quiet inner city neighbourhoods with several imposing monasteries and university buildings. The largely Gothic Crosier Monastery is now a five-star hotel.
- Boschstraatkwartier, an upcoming neighbourhood and cultural hotspot in the north of the city centre. Several of the former industrial buildings are being transformed for new uses.
- Sint-Matthiaskerk, a 14th-century parish church dedicated to Saint Matthew;
- Bassin, a restored early 19th-century inner harbor with restaurants and cafés
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on one side and interesting industrial architecture on the other side.
- Wyck, the old quarter on the right bank of the river Meuse.
- Saint Martin's Church, a Gothic Revival church designed by Pierre Cuypers in 1856;
- Rechtstraat is a street in Wyck, with many historic buildings and a mix of specialty shops, art galleries and restaurants;
- Stationsstraat and Wycker Brugstraat are elegant streets with the majority of the buildings dating from the late 19th century. At the east end of Stationsstraat stands the Maastricht railway station from 1913.
- Céramique, a modern neighbourhood on the site of the former Céramique potteries with a park along the river Meuse (Charles Eyckpark). Now
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a showcase of architectural highlights:
- Wiebengahal, one of the few remaining industrial monuments in the neighbourhood and an early example of modern architecture in the Netherlands, dating from 1912;
- Bonnefanten Museum by Aldo Rossi;
- Centre Céramique, a public library and exhibition space by Jo Coenen;
- La Fortezza, an office and apartment building by Mario Botta;
- Siza Tower, a residential tower clad with zinc and white marble, by Álvaro Siza Vieira;
- Also buildings by MBM, Cruz y Ortiz, Luigi Snozzi, Aurelio Galfetti, Herman Hertzberger, Wiel Arets, Hubert-Jan Henket, Charles Vandenhove and Bob Van Reeth.
- Sint-Pietersberg ("Mount Saint Peter"): modest hill and nature reserve
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south of the city, peaking at above sea level. It serves as Maastricht's main recreation area and a viewing point. The main sights include:
- Fort Sint-Pieter, an early 18th-century military fortress fully restored in recent years;
- Caves of Maastricht aka "Grotten Sint-Pietersberg", an underground network of man-made tunnels ("caves") in limestone quarries. Guided tours are available;
- Slavante, a country pavilion and restaurant on the site of a Franciscan monastery of which parts remain;
- Lichtenberg, a ruined medieval castle keep and a small museum in an adjacent farmstead;
- D'n Observant ("The Observer"), an artificial hilltop, made with the spoils of a nearby quarry, now a nature
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reserve.
## Museums in Maastricht.
- Bonnefanten Museum is the foremost museum for old masters and contemporary fine art in the province of Limburg. The collection features medieval sculpture, early Italian painting, Southern Netherlandish painting, and contemporary art.
- The Treasury of the Basilica of Saint Servatius includes religious artifacts from the 4th to 20th centuries, notably those related to Saint Servatius. Highlights include the shrine, the key and the crosier of Saint Servatius, and the reliquary bust donated by Alexander Farnese, Duke of Parma.
- The Treasury of the Basilica of Our Lady contains religious art, textiles, reliquaries, liturgical vessels and other artifacts
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from the Middle Ages and later periods.
- Derlon Museumkelder is a preserved archeological site in the basement of a hotel with Roman and pre-Roman remains.
- The Maastricht Natural History Museum exhibits collections relating to the geology, paleontology and flora and fauna of Limburg. Highlights in the collection are several fragment of skeletons of Mosasaurs found in a quarry in Mount Saint Peter.
- Museum aan het Vrijthof is a local art and history museum based in the 16th-century Spanish Government building, featuring some period rooms with 17th- and 18th-century furniture, clocks, Maastricht silver, porcelain, glassware and Maastricht pistols, and temporary exhibitions of local artists
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and designers.
## Events and festivals.
- "Dies natalis", birthday of the University of Maastricht, with procession of university faculty to St. John's Church where honorary degrees are awarded.
- Carnival (Maastrichtian: "Vastelaovend") - a traditional three-day festival in the southern part of the Netherlands; in Maastricht mainly outdoors with typical "Zaate Herremeniekes" (February/March).
- The European Fine Art Fair (TEFAF), the world's leading art and antiques fair (March).
- Amstel Gold Race, an international cycling race which starts in Maastricht (usually April).
- KunstTour, an annual art festival (May).
- European Model United Nations (EuroMUN), an annual international conference
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in May.
- "Stadsprocessie", religious procession with reliquaries of local saints (first Sunday after 13 May).
- Pilgrimage of the Relics (Dutch: "Heiligdomsvaart"), pilgrimage with relics display and processions dating from the Middle Ages (May/June; once in 7 years; next: 2025).
- Giants' Parade (Dutch: "Reuzenstoet"), parade of processional giants, mainly from Belgium and France (June; once in 5 years; next: 2024).
- "Maastrichts Mooiste", an annual running and walking event (June).
- Fashionclash, international fashion event throughout the city (June).
- Vrijthof concerts by André Rieu and the Johann Strauss Orchestra (July/August).
- "Preuvenemint", a large culinary event held on
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the Vrijthof square (August).
- "Inkom", the traditional opening of the academic year and introduction for new students of Maastricht University (August).
- Musica Sacra, a festival of religious (classical) music (September).
- "Nederlandse Dansdagen" (Netherlands Dance Days), a modern dance festival (October).
- Jazz Maastricht, a jazz festival formerly known as Jeker Jazz (autumn).
- "11de van de 11de" (the 11th of the 11th), the official start of the carnival season (11 November).
- Jumping Indoor Maastricht, an international "concours hippique" (showjumping) (November).
- Magic Maastricht ("Magisch Maastricht"), a winter-themed funfair and Christmas market held on Vrijthof square
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and other locations throughout the city (December/January).
Furthermore, the Maastricht Exposition and Congress Centre (MECC) hosts many events throughout the year.
# Nature.
## Parks.
There are several city parks and recreational areas in Maastricht:
- Stadspark, the main public park in Maastricht, partly 19th-century, with remnants of the medieval city walls, a branch of the Jeker river, a mini-zoo and several public sculptures (e.g. the statue of d'Artagnan in Aldenhofpark, a 20th-century extension of Stadspark). Other extensions of the park are called Kempland, Henri Hermanspark, Monseigneur Nolenspark and Waldeckpark. From 2014 onwards, the grounds of the former Tapijn military barracks
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will be gradually added to the park;
- Jekerpark, a new park along the river Jeker, separated from Stadspark by a busy road;
- Frontenpark, a new park west of the city centre, incorporating parts of the fortifications of Maastricht from the 17th to 19th centuries;
- Charles Eykpark, a modern park between the public library and Bonnefanten Museum on the east bank of the Meuse river, designed in the late 1990s by Swedish landscape architect Gunnar Martinsson.
- Griendpark, a modern park on the east bank of the river with an inline-skating and skateboarding course.
- Geusseltpark in eastern Maastricht and J.J. van de Vennepark in western Maastricht, both with elaborate sports facilities.
##
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Natural areas.
- The Meuse river and its green banks in outlying areas. In the northern areas around Itteren and Borgharen 'new nature' is being created in combination with river protection measures and gravel mining.
- Pietersplas, an artificial lake between Maastricht and Gronsveld that was the result of gravel pits on the banks of the Meuse river. There is a beach on the northern slope of the lake and a marina near Castle Hoogenweerth. The eastern riverbed between Pietersplas and the provincial government building is a nature reserve (Kleine Weerd).
- The Jeker Valley, along the river Jeker, starts near the city centre in Stadspark and leads via Jekerpark to an area with green meadows,
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fertile fields, some vineyards on the slopes of Cannerberg, several water mills and Château Neercanne, and continues further south into Belgium.
- The green flanks of Mount Saint Peter, including many footpaths.
- Dousberg and Zouwdal, a modest hill and valley surrounded by urban development on the western edge of the city, partly in Belgium. A large part of the hill is now in use as an international golf course (Golfclub Maastricht).
- Landgoederenzone, an extended area in the northeast of Maastricht (partly in Meerssen) consisting of around fifteen country estates, such as Severen, Geusselt, Bethlehem, Mariënwaard, Kruisdonk, Vaeshartelt, Meerssenhoven, Borgharen and Hartelstein. Some of
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the castles, villas and stately homes are surrounded by industrial areas or quarries.
- Bike paths through agricultural areas in several outlying quarters (like "Biesland" and "Wolder").
# Sports.
- In football, Maastricht is represented by MVV Maastricht (Dutch: "Maatschappelijke Voetbal Vereniging Maastricht"), who (as of the 2016–2017 season) play in the Dutch first division of the national competition (which is the second league after the Eredivisie league). MVV's home is the Geusselt stadium near the A2 highway.
- Maastricht is also home to the Maastricht Wildcats, an American Football League team and member of the AFBN (American Football Bond Nederland).
- Since 1998, Maastricht has
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been the traditional starting place of the annual Amstel Gold Race, the only Dutch cycling classic. For several years the race also finished in Maastricht, but since 2002 the finale has been on the Cauberg hill in nearby Valkenburg. Tom Dumoulin was born in Maastricht.
- Since 2000, Maastricht has been the first city in the Netherland with a lacrosse team. The Student Sport Association "Maaslax" is closely linked to Maastricht University and member of the NLB (Nederland Lacrosse Bond).
# Politics.
## City council.
The municipal government of Maastricht consists of a city council, a mayor and a number of aldermen. The city council, a 39-member legislative body directly elected for four years,
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appoints the aldermen on the basis of a coalition agreement between two or more parties after each election. The 2006 municipal elections in the Netherlands were, as often, dominated by national politics and led to a shift from right to left throughout the country. In Maastricht, the traditional broad governing coalition of Christian Democrats (CDA), Labour (PvdA), Greens (GreenLeft) and Liberals (VVD) was replaced by a centre-left coalition of Labour, Christian Democrats and Greens. Two Labour aldermen were appointed, along with one Christian Democrat and one Green alderman. Due to internal disagreements, one of the VVD council members left the party in 2005 and formed a new liberal group in
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2006 (Liberalen Maastricht). The other opposition parties in the current city council are the Socialist Party (SP), the Democrats (D66) and two local parties (Stadsbelangen Mestreech (SBM) and the Seniorenpartij).
## Aldermen and mayors.
The aldermen and the mayor make up the executive branch of the municipal government. After the previous mayor, Gerd Leers (CDA), decided to step down in January 2010 following the 'Bulgarian Villa' affair, an affair concerning a holiday villa project in Byala, Bulgaria, in which the mayor was alleged to have been involved in shady deals to raise the value of villas he had ownership of. Up until July 1, 2015 the mayor of Maastricht was Onno Hoes, a Liberal
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(VVD), the only male mayor in the country, who officially was married to a male person. In 2013 Hoes was the subject of some political commotion, after facts had been disclosed about intimate affairs with several other male persons. The affair had no consequences for his political career. Because of a new affair in 2014 Hoes eventually stepped down.
Since July 1, 2015 the current mayor of Maastricht has been Annemarie Penn-te Strake. Penn is independent and serves no political party, although her husband is a former chairman of the Maastricht Seniorenpartij. She has served for the Dutch judicial system for many years in many different positions. During her tenure as mayor she still serves as
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attorney general.
## Cannabis.
One controversial issue which has dominated Maastricht politics for many years and which has also affected national and international politics, is the city's approach to soft drugs. Under the pragmatic Dutch soft drug policy, a policy of non-enforcement, individuals may buy and use cannabis from 'coffeeshops' (cannabis bars) under certain conditions. Maastricht, like many other border towns, has seen a growing influx of 'drug tourists', mainly young people from Belgium, France and Germany, who provide a large amount of revenue for the coffeeshops (around 13) in the city centre. The city government, most notably ex-mayor Leers, have been actively promoting drug
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policy reform in order to deal with its negative side effects.
One of the proposals, known as the 'Coffee Corner Plan', proposed by then-mayor Leers and supported unanimously by the city council in 2008, was to relocate the coffeeshops from the city centre to the outskirts of the town (in some cases near the national Dutch-Belgian border). The purpose of this plan was to reduce the impact of drug tourism on the city centre, such as parking problems and the illegal sale of hard drugs in the vicinity of the coffeeshops, and to monitor the sale and use of cannabis more closely in areas away from the crowded city centre. The Coffee Corner Plan, however, has met with fierce opposition from neighbouring
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